This completely subverts the elastic potential I had for Bergman himself, and it may be a complete reversal of Bergman's own style, both in terms of audio and visual as well as in terms of drama. Of course, this is also seen as a turning point in his career (and there are a lot of late twists), after all, after the tax evasion and fleeing Sweden to make a big movie inside the quality of their own anger such a plot happened in the average person can be called a huge change.
But the progress and regression brought about by a drastic change in the face of such a director as Bergman, I think most movie researchers are quite sensitive. Of course, I have to say, after all, Bergman as early as the very beginning of its outstanding audio-visual and skillful memories of montage and actors to grasp, coupled with the psychological depiction of the resort to such a large number of pen and ink approach has long held up the boundaries of the whole of European cinema, in order to surpass is bound to be a task that can be said to be impossible. So it's a once-in-a-lifetime opportunity to see a sea change in such an innovative director.
This time the huge funds brought to Bergman's creation on the superiority can be said to be no even unbearable, the so-called in the ground to lay cobblestones and all sorts of hundreds of people scene only used a few seconds (the producer wants to jump) have to remind me of those stubborn Hollywood director. Talking about his play, Bergman as early as 52 years "bad girl Monica" when the type of modernist style, and this set of his own pain is indeed unsurprisingly extremely postmodern, but he himself has a closed space (the entire epistemology of the hero is surrounded by the laboratory into a closed space) and most of the Bergman's previous films coincide with the back, so it can not be called what novelty. It's also mostly a rehash of the so-called German cinema of earlier eras, as seen through the eyes of German directors, once again brought to the screen from Bergman's point of view.
So is the movie really that mediocre? Is there really nothing to like about it? Of course there is, after all, in the "Silence" Bergman developed that the camera intensity of mobile use here disappeared, we see a large number of zoom lenses instead, which gives the audience a kind of our perspective space is always confined in a collection of view, after all, the fixed camera position brought about by this spatial relationship between the unchanged does give people a strong sense of confinement.
In addition to this point, the male lead David's performance can be described as laughable, that running posture as a puppet with broken strings, and can be called to restore the acrobats, is laughable. There is also so much brain splatter in the film action scenes really make people feel quite a sense of American cultural invasion, really do not understand Bergman in the early part of the characters keen on emotional description, in the second half of the movie became flat, pale is out of what creative spirit.
A failed Bergman movie.
But the progress and regression brought about by a drastic change in the face of such a director as Bergman, I think most movie researchers are quite sensitive. Of course, I have to say, after all, Bergman as early as the very beginning of its outstanding audio-visual and skillful memories of montage and actors to grasp, coupled with the psychological depiction of the resort to such a large number of pen and ink approach has long held up the boundaries of the whole of European cinema, in order to surpass is bound to be a task that can be said to be impossible. So it's a once-in-a-lifetime opportunity to see a sea change in such an innovative director.
This time the huge funds brought to Bergman's creation on the superiority can be said to be no even unbearable, the so-called in the ground to lay cobblestones and all sorts of hundreds of people scene only used a few seconds (the producer wants to jump) have to remind me of those stubborn Hollywood director. Talking about his play, Bergman as early as 52 years "bad girl Monica" when the type of modernist style, and this set of his own pain is indeed unsurprisingly extremely postmodern, but he himself has a closed space (the entire epistemology of the hero is surrounded by the laboratory into a closed space) and most of the Bergman's previous films coincide with the back, so it can not be called what novelty. It's also mostly a rehash of the so-called German cinema of earlier eras, as seen through the eyes of German directors, once again brought to the screen from Bergman's point of view.
So is the movie really that mediocre? Is there really nothing to like about it? Of course there is, after all, in the "Silence" Bergman developed that the camera intensity of mobile use here disappeared, we see a large number of zoom lenses instead, which gives the audience a kind of our perspective space is always confined in a collection of view, after all, the fixed camera position brought about by this spatial relationship between the unchanged does give people a strong sense of confinement.
In addition to this point, the male lead David's performance can be described as laughable, that running posture as a puppet with broken strings, and can be called to restore the acrobats, is laughable. There is also so much brain splatter in the film action scenes really make people feel quite a sense of American cultural invasion, really do not understand Bergman in the early part of the characters keen on emotional description, in the second half of the movie became flat, pale is out of what creative spirit.
A failed Bergman movie.